document_title: Harry Potter (film series)

question_text: what is the second harry potter movie called

question_tokens: what is the second harry potter movie called

text: Harry Potter (film series)

text: Origins

text: Late in 1997, film producer David Heyman's London offices received a copy of the first book in what would become Rowling's series of seven Harry Potter novels. The book, Harry Potter and the Philosopher's Stone, was relegated to a low-priority bookshelf, where it was discovered by a secretary who read it and gave it to Heyman with a positive review. Consequently, Heyman, who had originally disliked "the rubbish title", read the book himself. Highly impressed by Rowling's work, he began the process that led to one of the most successful cinematic franchises of all time.[11]

text: Heyman's enthusiasm led to Rowling's 1999 sale of the film rights for the first four Harry Potter books to Warner Bros. for a reported £1 million (US$2,000,000).[12] A demand Rowling made was that the principal cast be kept strictly British, allowing nevertheless for the inclusion of many Irish actors, such as Richard Harris as Dumbledore, and for casting of French and Eastern European actors in Harry Potter and the Goblet of Fire where characters from the book are specified as such.[13] Rowling was hesitant to sell the rights because she "didn't want to give them control over the rest of the story" by selling the rights to the characters, which would have enabled Warner Bros. to make non-author-written sequels.[14]

text: Although Steven Spielberg initially negotiated to direct the first film, he declined the offer.[15] Spielberg wanted the adaptation to be an animated film, with American actor Haley Joel Osment providing Harry Potter's voice.[16][not in citation given] Spielberg contended that, in his opinion, there was every expectation of profit in making the film. He claims that making money would have been like "shooting ducks in a barrel. It's just a slam dunk. It's just like withdrawing a billion dollars and putting it into your personal bank accounts. There's no challenge".[17] In the "Rubbish" Bin section of her website, Rowling maintains that she had no role in choosing directors for the films, writing "Anyone who thinks I could (or would) have 'veto-ed' him [Spielberg] needs their Quick-Quotes Quill serviced."[18]

text: After Spielberg left, conversations began with other directors, including Chris Columbus, Jonathan Demme, Terry Gilliam, Mike Newell, Alan Parker, Wolfgang Petersen, Rob Reiner, Tim Robbins, Brad Silberling, and Peter Weir.[19] Petersen and Reiner both pulled out of the running in March 2000.[20] It was then narrowed down to Columbus, Gilliam, Parker, and Silberling.[21] Rowling's first choice was Terry Gilliam.[22] However, on 28 March 2000 Columbus was appointed as director of the film, with Warner Bros. citing his work on other family films such as Home Alone and Mrs. Doubtfire as influences for their decision.[23]

text: Harry Potter is the kind of timeless literary achievement that comes around once in a lifetime. Since the books have generated such a passionate following across the world, it was important to us to find a director that has an affinity for both children and magic. I can't think of anyone more ideally suited for this job than Chris [Columbus].

text: Steve Kloves was selected to write the screenplay for the first film. He described adapting the book as "tough" since it did not "lend itself to adaptation as well as the next two books". Kloves was sent a "raft" of synopses of books proposed as film adaptations, with Harry Potter being the only one that jumped out at him. He went out and bought the book, becoming an instant fan. When speaking to Warner Bros. he stated that the film had to be British and true to the characters.[24] David Heyman was confirmed to produce the film.[23] Rowling received a large amount of creative control for the film, an arrangement that Columbus did not mind.[25]

text: Warner Bros. had initially planned to release the first film over the 4 July 2001 weekend, making for such a short production window that several of the originally proposed directors had withdrawn themselves from contention. Eventually, due to time constraints, the date was put back to 16 November 2001.[26]

text: Casting the roles of Harry, Ron, and Hermione

text: In 2000, after a seven-month search, lead actor Daniel Radcliffe was discovered by producer David Heyman and writer Steve Kloves seated just behind them in a theatre. In Heyman's own words, "There sitting behind me was this boy with these big blue eyes. It was Dan Radcliffe. I remember my first impressions: He was curious and funny and so energetic. There was real generosity too, and sweetness. But at the same time he was really voracious and with hunger for knowledge of whatever kind."[11]

text: Radcliffe had already established himself as an actor in the 1999 BBC television production of David Copperfield in which he played the title role's childhood years. Heyman persuaded Radcliffe's parents to allow him to audition for the part of Harry Potter, which involved Radcliffe being filmed.[11] (This screen test footage was released via the first set of Ultimate Editions in 2009.)[27] Rowling was enthusiastic after viewing Radcliffe's filmed test, saying she didn't think there was a better choice for the part of Harry Potter.[11][28]

text: Also in 2000, the then unknown British actors Emma Watson and Rupert Grint were selected from thousands of auditioning children to play the roles of Hermione Granger and Ron Weasley, respectively. Their only previous acting experience was in school plays. Grint was eleven years old and Watson ten at the time they were cast.[29]

text: Los Angeles Times writer Geoff Boucher, who conducted the above-mentioned interview with Heyman, added that the casting of the three major roles "is especially impressive in hindsight. The trio's selection was arguably one of the best show-business decisions over the past decade... they have shown admirable grace and steadiness in the face of teen superstardom."[11][28]

text: Production

text: Filming of the series began at Leavesden Studios, Hertfordshire, England, in September 2000 and ended in December 2010, with post-production on the final film lasting until summer 2011.[6] Leavesden Studios was the main base for filming Harry Potter, and it opened to the public as a studio tour in 2012 (renamed as Warner Bros. Studios, Leavesden).[30]

text:
Motion Picture
Director
Writer
Producer(s) [n 1]
Composer
Novel by J. K. Rowling

Harry Potter and the Philosopher's Stone
Chris Columbus
Steve Kloves
David Heyman
John Williams
Harry Potter and the Philosopher's Stone

Harry Potter and the Chamber of Secrets
Harry Potter and the Chamber of Secrets

Harry Potter and the Prisoner of Azkaban
Alfonso Cuarón
Chris Columbus, David Heyman & Mark Radcliffe
Harry Potter and the Prisoner of Azkaban

Harry Potter and the Goblet of Fire
Mike Newell
David Heyman
Patrick Doyle
Harry Potter and the Goblet of Fire

Harry Potter and the Order of the Phoenix
David Yates
Michael Goldenberg
David Heyman & David Barron
Nicholas Hooper
Harry Potter and the Order of the Phoenix

Harry Potter and the Half-Blood Prince
Steve Kloves
Harry Potter and the Half-Blood Prince

Harry Potter and the Deathly Hallows – Part 1
David Heyman, David Barron & J. K. Rowling
Alexandre Desplat
Harry Potter and the Deathly Hallows

Harry Potter and the Deathly Hallows – Part 2

text: David Heyman produced all the films in the series with his production company Heyday Films, while David Barron joined the series as an executive producer on Chamber of Secrets and Goblet of Fire. Barron was later appointed producer on the last four films. Chris Columbus was an executive producer on the first two films alongside Mark Radcliffe and Michael Barnathan, but he became a producer on the third film alongside Heyman and Radcliffe. Other executive producers include Tanya Seghatchian and Lionel Wigram. J. K. Rowling, author of the series, was asked to become a producer on Goblet of Fire but declined. She subsequently accepted the role on the two-part Deathly Hallows.[31]

text: Heyday Films and Columbus' company 1492 Pictures collaborated with Duncan Henderson Productions in 2001, Miracle Productions in 2002, and P of A Productions in 2004. Even though Prisoner of Azkaban was the final film produced by 1492 Pictures, Heyday Films continued with the franchise and collaborated with Patalex IV Productions in 2005. The sixth film in the series, Half-Blood Prince, was the most expensive film to produce as of 2009[update].

text: Warner Bros. split the seventh and final novel in the series, Deathly Hallows, into two cinematic parts. The two parts were filmed back-to-back from early 2009 to summer 2010, with the completion of reshoots taking place on 21 December 2010; this marked the end of filming Harry Potter. Heyman stated that Deathly Hallows was "shot as one film" but released in two feature-length parts.[32]

text: Tim Burke, the visual effects supervisor of the series, said of the production on Harry Potter, "It was this huge family; I think there were over 700 people working at Leavesden, an industry in itself." David Heyman said, "When the first film opened, no way did I think we'd make eight films. That didn't seem feasible until after we'd done the fourth." Nisha Parti, the production consultant on the first film, said that Heyman "made the first film very much the way he felt the studio Warner Bros. wanted to make it." After the film's success, Heyman was given "more freedom".[33]

text: One of the aims of the filmmakers from the beginning of production was to develop the maturity of the films. Chris Columbus stated, "We realised that these movies would get progressively darker. Again, we didn't know how dark but we realised that as the kids get older, the movies get a little edgier and darker."[34] This transpired with the succeeding three directors who would work on the series in the following years, with the films beginning to deal with issues such as death, betrayal, prejudice, and political corruption as the series developed narratively and thematically.[5][35]

text: Directors

text: After Chris Columbus had finished working on Harry Potter and the Philosopher's Stone, he was hired to direct the second film, Harry Potter and the Chamber of Secrets. The production started within a week after the release of the first film. Columbus was set to direct all entries in the series,[36] but he did not want to return for the third film, Harry Potter and the Prisoner of Azkaban, claiming he was "burned out".[37] He moved to the position of producer, while Alfonso Cuarón was approached for the role of director. He was initially nervous about directing the instalment since he had not read any of the books or seen the films. After reading the series, he changed his mind and signed on to direct since he had immediately connected to the story.[38]

text: Because Cuarón decided not to direct the fourth instalment, Harry Potter and the Goblet of Fire, a new director had to be selected.[39] Mike Newell was chosen to direct the film, but he declined to direct the next film, Harry Potter and the Order of the Phoenix, which was given to David Yates, who also directed Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, becoming the only director to helm more than one film since Chris Columbus.

text: Chris Columbus said his vision of the first two films was of a "golden storybook, an old-fashioned look", while Alfonso Cuarón changed the visual tone of the series, desaturated the colour palette, and expanded the landscape around Hogwarts.[34][39] Mike Newell decided to direct the fourth film as a "paranoid thriller", while David Yates wanted to "bring a sense of jeopardy and character to the world".[40][41] Cuarón, Newell, and Yates have said that their challenge was striking a balance between making the films according to their individual vision, while working within a cinematic world already established by Columbus.[39][40][41]

text: David Heyman commented on the "generosity of the directors" by revealing that "Chris spent time with Alfonso, Alfonso spent time with Mike and Mike spent time with David, showing him an early cut of the film, talking through what it means to be a director and how they went about [making the films]."[42]

text: David Heyman also said, "I suppose Chris Columbus was the most conservative choice from the studio's point of view. But he expressed real passion."[33] Producer Tanya Seghatchian said they were "more adventurous" in choosing a director for the third film and went straight to Alfonso Cuarón.[33] Mike Newell became the first British director of the series when he was chosen for the fourth film; Newell was considered to direct the first film before he dropped out.[33] David Yates directed the final films after David Heyman thought him capable of handling the edgy, emotional, and political material of the later novels.[43]

text: All the directors have been supportive of each other. Chris Columbus praised the character development in the films, while Alfonso Cuarón admired the "quiet poetry" of David Yates' films.[34][39] Mike Newell noted that each director had a different heroism, and David Yates views the first four films "respectfully and enjoy[s] them."[40][41] Daniel Radcliffe said Yates "took the charm of the films that Chris made and the visual flair of everything that Alfonso did and the thoroughly British, bombastic nature of the film directed by Mike Newell" and added "his own sense" of realism.[44]

text: Scripts

text: Steve Kloves wrote the screenplays for all but the fifth film, which was penned by Michael Goldenberg. Kloves had direct assistance from J.K. Rowling, though she allowed him what he described as "tremendous elbow room". Rowling asked Kloves to remain faithful to the spirit of the books; thus, the plot and tone of each film and its corresponding book are virtually the same, albeit with some changes and omissions for purposes of cinematic style, time, and budget constraints. Michael Goldenberg also received input from Rowling during his adaptation of the fifth novel; Goldenberg was originally considered to adapt the first novel before the studio chose Kloves.[45]

text: In a 2010 interview, David Heyman briefly explained the book-to-film transition. He commented on Rowling's involvement in the series, stating that she understood that "books and films are different" and was "the best support" a producer could have. Rowling had overall approval on the scripts, which were viewed and discussed by the director and the producers. Heyman also said that Kloves was the "key voice" in the process of adapting the novels and that certain aspects from the books needed to have been excluded from the scripts due to the filmmakers' decision to keep the main focus on Harry's journey as a character, which would ultimately give the films a defined structure. Heyman mentioned that some fans "don't necessarily understand the adaptation process" and that the filmmakers would have loved to "have everything" from the books in the films but noted that it was not possible since they had "neither time nor cinematic structure" to do so. He finished by saying that adapting a novel to the screen is "a really considered process."[46]

text: Because the films were being made as the novels were being published, the filmmakers had no idea of the story's outcome until the release of the final novel in 2007. Kloves spoke of his relationship with Rowling when adapting the novels by saying, "The thing is about Jo, which is remarkable for someone who had no experience with the filmmaking process, was her intuition. We had a conversation the very first day I met her where she said, 'I know the movies can't be the books... because I know what's coming and it's impossible to fully dramatise on screen what I'm going to write. But I just ask you to be true to the characters; that's all I care about.'"[47] Kloves also said, "I don't know what compelled me to say this [to Rowling], but I said, 'I've just got to warn you my favourite character is not Harry. My favourite character is Hermione.' And I think for some weird reason, from that moment on, she sort of trusted me."[47]

text: Cast and crew

text: Aside from the three lead actors, other notable cast members include Robbie Coltrane as Rubeus Hagrid, Tom Felton as Draco Malfoy, Alan Rickman as Severus Snape, and Dame Maggie Smith as Minerva McGonagall. Richard Harris, who played the role of Professor Albus Dumbledore, died on 25 October 2002 causing the role to be re-cast for the third instalment, Harry Potter and the Prisoner of Azkaban. David Heyman and director Alfonso Cuarón chose Michael Gambon to portray the character of Dumbledore, which he did for all succeeding films. Notable recurring cast members include Helena Bonham Carter as Bellatrix Lestrange, Warwick Davis as Filius Flitwick, Ralph Fiennes as Lord Voldemort, Brendan Gleeson as Alastor Moody, Richard Griffiths as Vernon Dursley, Jason Isaacs as Lucius Malfoy, Gary Oldman as Sirius Black, Fiona Shaw as Petunia Dursley, Timothy Spall as Peter Pettigrew, David Thewlis as Remus Lupin, Emma Thompson as Sybill Trelawney, Mark Williams as Arthur Weasley, and Julie Walters as Molly Weasley.

text: The series has seen many returning crew members from various departments, including Tim Burke, visual effects supervisor; Peter Doyle, digital film colourist; Nick Dudman, make-up and creature effects designer; David Holmes, stunt double; Amanda Knight, make-up artist; Stephenie McMillan, set designer; Greg Powell, stunt coordinator; Jany Temime, costume designer; and Fiona Weir, casting director.

text: Set design

text: The production designer for all eight films is Stuart Craig. Assisted by Stephenie McMillan, Craig has created iconic sets pieces including the Ministry of Magic, the Chamber of Secrets, Malfoy Manor, and the layout for the CGI Horcrux Cave. Because the novels were being published as the films were being made, Craig was required to rebuild some sets for future films and alter the design of Hogwarts.[50]

text: He said, "In the early days, every time you saw the exterior of Hogwarts, it was a physical miniature," which was made by craftsmen and occupied a large sound stage.[52][53] "We ended up with a profile of how Hogwarts looked, a skyline that actually I didn't design, and it wasn't always satisfactory, and as all the novels got written and movies got made there were new requirements [for buildings]. The [Astronomy Tower] definitely wasn't there originally, and so we were able to add that substantial piece. And in the last film, we needed an arena for the battle for Hogwarts – the big courtyard outside doubled in size, and if you look at the first movie it wasn't there at all. There were quite some liberties taken with the continuity of Hogwarts."[54] In the last film, Craig used a digital model instead of a miniature to "embrace the latest technology".[53]

text: On the method of creating the sets, Craig said he often started by sketching ideas onto a blank sheet of paper.[55] Stephanie McMillan also said that "each film always had plenty of new challenges," citing the changes in visual style between directors and cinematographers as an example, along with the developing story in the novels. Due to J.K. Rowling's descriptions of various settings in the novels, Craig noted his "responsibility was to place it together".[56]

text: Craig commented on his experience working in the studio environment: "I'm the production designer, but on a big movie like Harry Potter I may be responsible for 30 to 35 people; from the supervising art director, and a team of art directors and assistants, to draughtsmen and junior draughtsmen, and then on to model makers, sculptors and scenic artists." He said, "Ten years ago, all the Harry Potter drawings were done in pencil. I would take my roughs and plans and sections and give them to a professional architectural illustrator, who would create concept art using pencil and colour wash on watercolour paper." He said the process changed slightly throughout the years due to, what he called, the "digital revolution" of making films.[53]

text: When filming of the series was completed, some of Craig's sets had to be rebuilt or transported for them to be displayed at the Warner Bros. studio tour.[52]

text: Cinematography

text: Six directors of photography worked on the series: John Seale on the first film, Roger Pratt on the second and fourth, Michael Seresin on the third, Sławomir Idziak on the fifth, Bruno Delbonnel on the sixth, and Eduardo Serra on the seventh and eighth. Delbonnel was considered to return for both parts of Deathly Hallows, but he declined, stating that he was "scared of repeating" himself.[57] Delbonnel's cinematography in Half-Blood Prince gained the series its only Academy Award nomination for Best Cinematography. As the series progressed, each cinematographer faced the challenge of shooting and lighting older sets (which had been around since the first few films) in unique and different ways.[58] Chris Columbus said the series' vivid colouring decreased as each film was made.[34][59]

text: Michael Seresin commented on the change of visual style from the first two films to Prisoner of Azkaban: "The lighting is moodier, with more shadowing and cross-lighting." Seresin and Alfonso Cuarón moved away from the strongly coloured and brightly lit cinematography of the first two films, with dimmer lighting and a more muted colour palette being utilised for the succeeding five films.[60] After comparing a range of digital cameras with 35 mm film, Bruno Delbonnel decided to shoot the sixth movie, Half-Blood Prince, on film rather than the increasingly popular digital format. This decision was kept for the two-part Deathly Hallows with Eduardo Serra, who said that he preferred to work with film because it was "more technically accurate and dependable".[61]

text: Because the majority of Deathly Hallows takes place in various settings away from Hogwarts, David Yates wanted to "shake things up" by using different photographic techniques such as using hand-held cameras and very wide camera lenses.[62] Eduardo Serra said, "Sometimes we are combining elements shot by the main unit, a second unit, and the visual effects unit. You have to know what is being captured – colours, contrast, et cetera – with mathematical precision." He noted that with Stuart Craig's "amazing sets and the story", the filmmakers could not "stray too far from the look of the previous Harry Potter films."[61][63]

text: Editing

text: Along with continuous changes in cinematographers, there have been five film editors to work in post-production on the series: Richard Francis-Bruce edited the first instalment, Peter Honess the second, Steven Weisberg the third, Mick Audsley the fourth, and Mark Day films five through eight.

text: Music

text: The Harry Potter series has had four composers. John Williams scored the first three films: Philosopher's Stone, Chamber of Secrets, and Prisoner of Azkaban. However, the second entry was adapted and conducted by William Ross due to Williams's conflicting commitments. Williams also created Hedwig's Theme, which is used in every film in the series.

text: After Williams left the series to pursue other projects, Patrick Doyle scored the fourth entry, Goblet of Fire, which was directed by Mike Newell, with whom Doyle had worked previously. In 2006, Nicholas Hooper started work on the score to Order of the Phoenix by reuniting with director David Yates. Hooper also composed the soundtrack to Half-Blood Prince but decided not to return for the final films.

text: In January 2010, Alexandre Desplat was confirmed to compose the score for Harry Potter and the Deathly Hallows – Part 1.[64] The film's orchestration started in the summer with Conrad Pope, the orchestrator on the first three Harry Potter films, collaborating with Desplat. Pope commented that the music "reminds one of the old days."[65] Desplat returned to score Harry Potter and the Deathly Hallows – Part 2 in 2011.[66]

text: Director David Yates stated that he wanted John Williams to return to the series for the final installment, but their schedules did not align due to the urgent demand for a rough cut of the film.[67] The final recording sessions of Harry Potter took place on 27 May 2011 at Abbey Road Studios with the London Symphony Orchestra, orchestrator Conrad Pope, and composer Alexandre Desplat.[68]

text: Doyle, Hooper, and Desplat introduced their own personal themes to their respective soundtracks, while keeping a few of John Williams's themes.

text: Visual effects

text: There have been many visual effects companies to work on the Harry Potter series. Some of these include Rising Sun Pictures, Double Negative, Cinesite, Framestore, and Industrial Light & Magic. The latter three have worked on all the films in the series, while Double Negative and Rising Sun Pictures began their commitments with Prisoner of Azkaban and Goblet of Fire, respectively. Framestore contributed by developing many memorable creatures and sequences to the series.[69] Cinesite was involved in producing both miniature and digital effects for the films.[70] Producer David Barron said that "Harry Potter created the UK effects industry as we know it. On the first film, all the complicated visual effects were done on the [US] west coast. But on the second, we took a leap of faith and gave much of what would normally be given to Californian vendors to UK ones. They came up trumps." Tim Burke, the visual effects supervisor, said many studios "are bringing their work to UK effects companies. Every facility is fully booked, and that wasn't the case before Harry Potter. That's really significant."[33]

text: Final filming

text: On 12 June 2010, filming of the Deathly Hallows – Part 1 and Deathly Hallows – Part 2 was completed with actor Warwick Davis stating on his Twitter account, "The end of an Era – today is officially the last day of principal photography on 'Harry Potter' – ever. I feel honoured to be here as the director shouts cut for the very last time. Farewell Harry & Hogwarts, it's been magic!".[71] However, reshoots of the epilogue scene were confirmed to begin in the winter of 2010. The filming was completed on 21 December 2010, marking the official closure of filming the Harry Potter franchise.[72] Exactly four years earlier on that day, author J. K. Rowling's official website revealed the title of the final novel in the series – Harry Potter and the Deathly Hallows.[73]

text: Films

text: Harry Potter and the Philosopher's Stone (2001)

text: Harry Potter is an orphaned boy brought up by his unkind Muggle (non-magical) aunt and uncle. At the age of eleven, half-giant Rubeus Hagrid informs him that he is actually a wizard and that his parents were murdered by an evil wizard named Lord Voldemort. Voldemort also attempted to kill one-year-old Harry on the same night, but his killing curse mysteriously rebounded and reduced him to a weak and helpless form. Harry became extremely famous in the Wizarding World as a result. Harry begins his first year at Hogwarts School of Witchcraft and Wizardry and learns about magic. During the year, Harry and his friends Ron Weasley and Hermione Granger become entangled in the mystery of the Philosopher's Stone which is being kept within the school.

text: Harry Potter and the Chamber of Secrets (2002)

text: Harry, Ron, and Hermione return to Hogwarts for their second year, which proves to be more challenging than the last. The Chamber of Secrets has been opened, leaving students and ghosts petrified by an unleashed monster. Harry must face up to claims that he is the heir of Salazar Slytherin (founder of the Chamber), learn that he can speak Parseltongue, and also discover the properties of a mysterious diary, only to find himself trapped within the Chamber of Secrets itself.

text: Harry Potter and the Prisoner of Azkaban (2004)

text: Harry Potter's third year sees the boy wizard, along with his friends, attending Hogwarts School once again. Professor R. J. Lupin joins the staff as Defence Against the Dark Arts teacher, while convicted murderer Sirius Black escapes from Azkaban Prison. The Ministry of Magic entrusts the Dementors of Azkaban to guard Hogwarts from Black. Harry learns more about his past and his connection with the escaped prisoner.

text: Harry Potter and the Goblet of Fire (2005)

text: During Harry's fourth year, Hogwarts plays host to a legendary event: the Triwizard Tournament. Three European schools participate in the tournament, with three 'champions' representing each school in the deadly tasks. The Goblet of Fire chooses Fleur Delacour, Viktor Krum, and Cedric Diggory to compete against each other. However, curiously, Harry's name is also produced from the Goblet thus making him a fourth champion, which results in a terrifying encounter with a reborn Lord Voldemort.

text: Harry Potter and the Order of the Phoenix (2007)

text: Harry's fifth year begins with him being attacked by Dementors in Little Whinging. Later, he finds out that the Ministry of Magic is in denial of Lord Voldemort's return. Harry is also beset by disturbing and realistic nightmares, while Professor Umbridge, a representative of Minister for Magic Cornelius Fudge, is the new Defence Against the Dark Arts teacher. Harry becomes aware that Voldemort is after a prophecy which reveals: "neither can live while the other survives". The rebellion involving the students of Hogwarts, secret organisation Order of the Phoenix, the Ministry of Magic, and the Death Eaters begins.

text: Harry Potter and the Half-Blood Prince (2009)

text: In Harry's sixth year at Hogwarts, Lord Voldemort and his Death Eaters are increasing their terror upon the Wizarding and Muggle worlds. Headmaster Albus Dumbledore persuades his old friend Horace Slughorn to return to Hogwarts as a professor as there is a vacancy to fill. There is a more important reason, however, for Slughorn's return. While in a Potions lesson, Harry takes possession of a strangely annotated school textbook, inscribed 'This is the property of the Half-Blood Prince'. Draco Malfoy struggles to carry out a deed presented to him by Voldemort. Meanwhile, Dumbledore and Harry secretly work together to discover the method on how to destroy the Dark Lord once and for all.

text: Harry Potter and the Deathly Hallows – Part 1 (2010)

text: After unexpected events at the end of the previous year, Harry, Ron, and Hermione are entrusted with a quest to find and destroy Lord Voldemort's secret to immortality – the Horcruxes. It is supposed to be their final year at Hogwarts, but the collapse of the Ministry of Magic and Voldemort's rise to power prevents them from attending. The trio undergo a long journey with many obstacles in their path including Death Eaters, Snatchers, the mysterious Deathly Hallows, and Harry's connection with the Dark Lord's mind becoming ever stronger.

text: Harry Potter and the Deathly Hallows – Part 2 (2011)

text: After destroying one Horcrux and discovering the significance of the three Deathly Hallows, Harry, Ron and Hermione continue to seek the other Horcruxes in an attempt to destroy Voldemort, who has now obtained the powerful Elder Wand. The Dark Lord discovers Harry's hunt for Horcruxes and launches an attack on Hogwarts School, where the trio return for one last stand against the dark forces that threaten the Wizarding and Muggle worlds.

text: Release

text: The rights for the first four novels in the series were sold to Warner Bros. for £1,000,000 by J.K. Rowling. After the release of the fourth book in July 2000, the first film, Harry Potter and the Philosopher's Stone, was released on 16 November 2001. In its opening weekend, the film grossed $90 million in the United States alone, which set a record opening worldwide. The succeeding three motion picture adaptations followed suit in financial success, while garnering positive reviews from fans and critics. The fifth film, Harry Potter and the Order of the Phoenix, was released by Warner Bros. on 11 July 2007 in English-speaking countries, except for the UK and Ireland, which released the movie on 12 July.[74] The sixth, Harry Potter and the Half-Blood Prince, was released on 15 July 2009 to critical acclaim and finished its theatrical run ranked as the number two grossing film of 2009 on the worldwide charts.

text: The final novel, Harry Potter and the Deathly Hallows, was split into two cinematic parts: Part 1 was released on 19 November 2010, and Part 2, the conclusion to both the final film and the series, was released on 15 July 2011.[75] Part 1 was originally scheduled to be released in 3D and 2D,[76] but due to a delay in the 3D conversion process, Warner Bros. released the film only in 2D and IMAX cinemas. However, Part 2 was released in 2D and 3D cinemas as originally planned.[77]

text: The television broadcast rights for the series in the United States are currently held by Disney–ABC Domestic Television, which typically airs the films on the Freeform network. Disney's contract is expected to end in June 2018, after which, NBCUniversal will take control of the rights, after their deal with Warner Bros. was made in August 2016.[78] The film series has accrued nearly 1.3 billion viewings since their television debut—the highest-watched franchise in television broadcast history.[79]

text: Reception

text: Critical response

text: All the films have been a success financially and critically, making the franchise one of the major Hollywood "tent-poles" akin to James Bond, Star Wars, Indiana Jones and Pirates of the Caribbean. The series is noted by audiences for growing visually darker and more mature as each film was released.[34][80][81][82][83] However, opinions of the films generally divide book fans, with some preferring the more faithful approach of the first two films and others preferring the more stylised character-driven approach of the later films.

text: Some also feel the series has a "disjointed" feel due to the changes in directors, as well as Michael Gambon's interpretation of Albus Dumbledore differing from that of Richard Harris. Author J. K. Rowling has been constantly supportive of the films,[84][85][86] and evaluated Deathly Hallows as her favourite one in the series. She wrote on her website of the changes in the book-to-film transition, "It is simply impossible to incorporate every one of my storylines into a film that has to be kept under four hours long. Obviously films have restrictions – novels do not have constraints of time and budget; I can create dazzling effects relying on nothing but the interaction of my own and my readers' imaginations".[87]

text: Critical and public response

text:
Motion Picture
Rotten Tomatoes
Metacritic
CinemaScore

Harry Potter and the Philosopher's Stone
80% (193 reviews)[88]
64 (35 reviews)[89]
A[90]

Harry Potter and the Chamber of Secrets
82% (232 reviews)[91]
63 (35 reviews)[92]
A+[90]

Harry Potter and the Prisoner of Azkaban
91% (253 reviews)[93]
82 (40 reviews)[94]
A[90]

Harry Potter and the Goblet of Fire
88% (248 reviews)[95]
81 (38 reviews)[96]
A[90]

Harry Potter and the Order of the Phoenix
78% (245 reviews)[97]
71 (37 reviews)[98]
A−[90]

Harry Potter and the Half-Blood Prince
84% (269 reviews)[99]
78 (36 reviews)[100]
A−[90]

Harry Potter and the Deathly Hallows – Part 1
78% (265 reviews)[101]
65 (42 reviews)[102]
A[90]

Harry Potter and the Deathly Hallows – Part 2
96% (315 reviews)[103]
87 (41 reviews)[104]
A[90]

text: Accolades

text: At the 64th British Academy Film Awards in February 2011, J. K. Rowling, David Heyman, David Barron, David Yates, Alfonso Cuarón, Mike Newell, Rupert Grint and Emma Watson collected the Michael Balcon Award for Outstanding British Contribution to Cinema for the series.[105][106]

text: In addition, the American Film Institute recognised the entire series with a Special Award at the American Film Institute Awards in 2011. Special awards "are given to outstanding achievements in the moving image that do not fit into AFI's criteria for the other honorees." [107] In its press release, the Institute referred to the films as "a landmark series; eight films that earned the trust of a generation who wished for the beloved books of J.K. Rowling to come to life on the silver screen. The collective wizardry of an epic ensemble gave us the gift of growing older with Harry, Ron and Hermione as the magic of Hogwarts sprung from the films and into the hearts and minds of Muggles around the world." [107]

text: Harry Potter was also recognised by the BAFTA Los Angeles Britannia Awards, with David Yates winning the Britannia Award for Artistic Excellence in Directing for his four Harry Potter films.[108][109]

text:
Motion Picture
Academy Award nomination
Academy Award nominee
Academy Award ceremony

Harry Potter and the Philosopher's Stone
Best Art Direction
Best Costume Design
Best Original Score
Stuart Craig and Stephenie McMillan
Judianna Makovsky
John Williams
74th Academy Awards

Harry Potter and the Prisoner of Azkaban
Best Original Score
Best Visual Effects
John Williams
Roger Guyett, Tim Burke, John Richardson and Bill George
77th Academy Awards

Harry Potter and the Goblet of Fire
Best Art Direction
Stuart Craig and Stephenie McMillan
78th Academy Awards

Harry Potter and the Half-Blood Prince
Best Cinematography
Bruno Delbonnel
82nd Academy Awards

Harry Potter and the Deathly Hallows – Part 1
Best Art Direction
Best Visual Effects
Stuart Craig and Stephenie McMillan
Tim Burke, John Richardson, Christian Manz and Nicolas Aithadi
83rd Academy Awards

Harry Potter and the Deathly Hallows – Part 2
Best Art Direction
Best Makeup
Best Visual Effects
Stuart Craig and Stephenie McMillan
Nick Dudman, Amanda Knight and Lisa Tomblin
Tim Burke, David Vickery, Greg Butler and John Richardson
84th Academy Awards

text: Six of the eight films were nominated for a total of 12 Academy Awards.

text: Some critics, fans, and general audiences have expressed disappointment that the Harry Potter series did not win any Oscars for its achievements. However, others have pointed out that certain films in the series had uneven reviews, in contrast to the three films of The Lord of the Rings, for example, which were all critically acclaimed. This has been partially attributed to the Harry Potter franchise going through several directors with their own styles in contrast to the Lord of the Rings trilogy, which was filmed in one massive undertaking by the same director, writer, and producer.[110][111]

text: Although not successful at the Oscars, the Harry Potter series has gained success in many other award ceremonies, including the annual Saturn Awards and Art Directors Guild Awards. The series has also gained a total of 24 nominations at the British Academy Film Awards presented at the annual BAFTAs, winning several, and 5 nominations at the Grammy Awards.

text: Philosopher's Stone achieved seven BAFTA Award nominations, including Best British Film and Best Supporting Actor for Robbie Coltrane.[112] The film was also nominated for eight Saturn Awards and won for its costumes design.[113] It was also nominated at the Art Directors Guild Awards for its production design[114] and received the Broadcast Film Critics Award for Best Live Action Family Film along with gaining two other nominations.[115]

text: Chamber of Secrets won the award for Best Live Action Family Film in the Phoenix Film Critics Society. It was nominated for seven Saturn Awards, including Best Director and Best Fantasy Film. The film was nominated for four BAFTA Awards and a Grammy Award for John Williams's score. Prisoner of Azkaban won an Audience Award, as well as Best Feature Film, at the BAFTA Awards. The film also won a BMI Film Music award along with being nominated at the Grammy Awards, Visual Effect Society Awards, and the Amanda Awards. Goblet of Fire won a BAFTA award for Best Production Design as well as being nominated at the Saturn Awards, Critic's Choice Awards, and the Visual Effects Society Awards.

text: Order of the Phoenix picked up three awards at the inaugural ITV National Movie Awards.[116] At the Empire Awards, David Yates won Best Director.[117] Composer Nicholas Hooper received a nomination for a World Soundtrack Discovery Award.[118] The film was nominated at the BAFTA Awards, but did not win for Best Production Design or Best Special Visual Effects.[119] Half-Blood Prince was nominated for BAFTA Awards in Production Design and Visual Effects,[120] and it was in the longlists for several other categories, including Best Supporting Actor for Alan Rickman.[121] Amongst other nominations and wins, the film also achieved Best Family Movie at the National Movie Awards as well as Best Live Action Family Film at the Phoenix Film Critics Society Awards, along with being nominated for Best Motion Picture at the Satellite Awards.

text: Deathly Hallows – Part 1 gained two nominations at the BAFTA Awards for Best Make-Up and Hair and Best Visual Effects, along with receiving nominations for the same categories at the Broadcast Film Critics Association Awards. Eduardo Serra's cinematography and Stuart Craig's production design were also nominated in various award ceremonies, and David Yates attained his second win at the Empire Awards, this time for Best Fantasy Film. He also obtained another Best Director nomination at the annual Saturn Awards, which also saw the film gain a Best Fantasy Film nomination.[122][123] Deathly Hallows – Part 2 was released to critical acclaim, gaining a mix of audience awards. Part 2 of Deathly Hallows was also recognised at the Saturn Awards as well as the BAFTA Awards, where the film achieved a win for Best Special Visual Effects.[124]

text: Box office performance

text: As of 2017[update], the Harry Potter film series is the 2nd highest-grossing film franchise of all time, with the eight films released grossing over $7.7 billion worldwide. Without adjusting for inflation, this is higher than the first 22 James Bond films and the six films in the Star Wars franchise.[125] Chris Columbus's Philosopher's Stone became the highest-grossing Harry Potter film worldwide upon completing its theatrical run in 2002, but it was eventually topped by David Yates's Deathly Hallows – Part 2, while Alfonso Cuarón's Prisoner of Azkaban grossed the least.[126][127][128][129]

text: Six films in the Harry Potter franchise — Harry Potter and the Prisoner of Azkaban, Harry Potter and the Goblet of Fire, Harry Potter and the Order of the Phoenix, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows, Parts 1 & 2 — have to date grossed around $216 million in IMAX theaters worldwide.[130]

text:
Motion picture
Release date
Box office gross
Budget
Ref(s)

United Kingdom
USA & Canada
(approx. ticket sales)
Other countries
Worldwide

Harry Potter and the Philosopher's Stone
16 November 2001 (2001-11-16)
£66,096,060
$317,575,550
(55,976,200)
$657,179,821
$974,755,371
$125 million
[131][132][132][133][134]

Harry Potter and the Chamber of Secrets
14 November 2002 (2002-11-14)
£54,780,731
$261,988,482
(44,978,900)
$616,991,152
$878,979,634
$100 million
[133][134][135][136]

Harry Potter and the Prisoner of Azkaban
31 May 2004 (2004-05-31)
£45,615,949
$249,541,069
(40,183,700)
$547,147,480
$796,688,549
$130 million
[133][134][137]

Harry Potter and the Goblet of Fire
18 November 2005 (2005-11-18)
£48,328,854
$290,013,036
(45,188,100)
$606,898,042
$896,911,078
$150 million
[133][134][138][139]

Harry Potter and the Order of the Phoenix
11 July 2007 (2007-07-11)
£49,136,969
$292,004,738
(42,442,500)
$647,881,191
$939,885,929
$150 million
[133][134][140][141]

Harry Potter and the Half-Blood Prince
15 July 2009 (2009-07-15)
£50,713,404
$301,959,197
(40,261,200)
$632,457,290
$934,416,487
$250 million
[133][134][142][143]

Harry Potter and the Deathly Hallows – Part 1
19 November 2010 (2010-11-19)
£52,364,075
$295,983,305
(37,503,700)
$664,300,000
$960,283,305
Less than $250 million (official)
[133][134][144][145][146]

Harry Potter and the Deathly Hallows – Part 2
15 July 2011 (2011-07-15)
£73,094,187
$381,011,219
(48,046,800)
$960,500,000
$1,341,511,219
[134][146][147]

Total
£440,269,736
$7009239007659600000♠2,390,076,596
$7009533335497600000♠5,333,354,976
$7009772343157200000♠7,723,431,572
$1.155 billion
[148]

text: All-time rankings

text:
Motion picture
Rank
Ref(s)

All-time
(worldwide)
All-time
(United States)
All-time
(United Kingdom)
Yearly
(United States)
Yearly
(worldwide)
Opening day
(all-time)
Opening weekend
(all-time)

Philosopher's Stone
#29
#54
#9
#1
#1
#66
#55
[131]

Chamber of Secrets
#46
#90
#17
#4
#2
#81
#60
[133][135][136]

Prisoner of Azkaban
#62
#106
#33
#6
#2
#47
#49
[133]

Goblet of Fire
#42
#77
#28
#3
#1
#41
#40
[133][138][139]

Order of the Phoenix
#38
#73
#25
#5
#2
#34
#77
[133][140][141]

Half-Blood Prince
#39
#65
#24
#3
#2
#24
#75
[133][142][143]

Deathly Hallows – Part 1
#34
#68
#18
#5
#3
#22
#25
[133][144][145]

Deathly Hallows – Part 2
#8
#27
#7
#1
#1
#3
#8
[147][149]

text: Legacy and influence

text:
"Harry Potter was in the vanguard of a new approach to big-budget film-making. Most modern blockbuster franchises have two things in common: they are based on known properties such as books and comics, and they are steered by respected but little-known directors."

—The Economist[150]

tag: div

text: The Harry Potter films and their success have been retrospectively considered to have had a significant impact on the film industry. They are cited as having helped redefine the Hollywood blockbuster in the 21st century by initiating a shift toward established media franchises forming the basis of successful films. In the wake of the final film's release, Claudia Puig of USA Today wrote that the films "inspired every major studio to try to capture [its] alchemic formula, spawning a range of copycats and wannabes" and "also have shown Hollywood how to make a glossy blockbuster with an eye toward keeping costs down."[151] A 2009 article from The Economist argued that the films were "in the vanguard" of adaptations of established properties being the modern film franchise model, citing The Lord of the Rings, Spider-Man and The Dark Knight Trilogy as examples of successful film series that followed Harry Potter's suit.[150] Furthermore, the practice of splitting the finale of a film series into two back-to-back films began with the success of Deathly Hallows, and it would soon be replicated by The Hobbit: The Desolation of Smaug and The Battle of the Five Armies, The Twilight Saga: Breaking Dawn – Parts 1 and 2, The Hunger Games: Mockingjay – Parts 1 and 2, and Avengers: Infinity War and its untitled sequel.[152]

text: The films are also widely credited with singlehandedly signalling the popularity of films based on children's and young adult literature in the 2000s and 2010s, correlating with the book series' own literary influence. Costance Grady and Aja Romano, commenting on the whole Harry Potter franchise's legacy for Vox in light of its 20th anniversary, wrote that youth-targeted literature has since become "a go-to well of ideas for Hollywood," pointing to the successes of The Twilight Saga, The Hunger Games and The Divergent Series.[153]

text: The series has spawned a vast volume of fan fiction, with nearly 600 thousand inspired stories catalogued.[154] Youtube hosts many fan films, ranging from amateur productions to full length films.

text: Notes

text: Jump up ^ Not including executive producers.

tag: ol


document_title: Chapters and verses of the Bible

question_text: how many chapters in john in the bible

question_tokens: how many chapters in john in the bible

root

text: Chapters and verses of the Bible

text: History[edit]

text: Chapters[edit]

text: Early manuscripts of the biblical texts did not contain the chapter and verse divisions in the numbered form familiar to modern readers. In antiquity Hebrew texts were divided into paragraphs (parashot) that were identified by two letters of the Hebrew alphabet. Peh פ indicated an "open" paragraph that began on a new line, while Samekh ס indicated a "closed" paragraph that began on the same line after a small space.[1] These two letters begin the Hebrew words open (patuach) and closed (sagoor), and are, themselves, open פ and closed ס. The earliest known copies of the Book of Isaiah from the Dead Sea Scrolls used parashot divisions, although they differ slightly from the Masoretic divisions.[2] (This is different from the use of consecutive letters of the Hebrew alphabet to structure certain poetic compositions, known as acrostics, such as several of the Psalms and most of the Book of Lamentations.)

tag: p

text: The Hebrew Bible was also divided into some larger sections. In Israel the Torah (its first five books) were divided into 154 sections so that they could be read through aloud in weekly worship over the course of three years. In Babylonia it was divided into 53 or 54 sections (Parashat ha-Shavua) so it could be read through in one year.[2] The New Testament was divided into topical sections known as kephalaia by the fourth century. Eusebius of Caesarea divided the gospels into parts that he listed in tables or canons. Neither of these systems corresponds with modern chapter divisions.[3] (See fuller discussions below.)

text: Chapter divisions, with titles, are also found in the 9th century Tours manuscript, Paris Bibliothèque Nationale MS Lat. 3, the so-called Bible of Rorigo.[4]

text: Archbishop Stephen Langton and Cardinal Hugo de Sancto Caro developed different schemas for systematic division of the Bible in the early 13th century. It is the system of Archbishop Langton on which the modern chapter divisions are based.[5][6][7]

text: While chapter divisions have become nearly universal, editions of the Bible have sometimes been published without them. Such editions, which typically use thematic or literary criteria to divide the biblical books instead, include John Locke's Paraphrase and Notes on the Epistles of St. Paul (1707),[8] Alexander Campbell's The Sacred Writings (1826),[9] Daniel Berkeley Updike’s fourteen-volume The Holy Bible Containing the Old and New Testaments and the Apocrypha, Richard Moulton's The Modern Reader's Bible (1907),[10] Ernest Sutherland Bates's The Bible Designed to Be Read as Living Literature (1936),[11] The Books of the Bible (2007) from the International Bible Society (Biblica), Adam Lewis Greene’s five-volume Bibliotheca (2014),[12][13] and the six-volume ESV Reader's Bible[14] (2016) from Crossway Books.

text: Verses[edit]

text: Since at least 916 the Tanakh has contained an extensive system of multiple levels of section, paragraph, and phrasal divisions that were indicated in Masoretic vocalization and cantillation markings. One of the most frequent of these was a special type of punctuation, the sof passuq, symbol for a full stop or sentence break, resembling the colon (:) of English and Latin orthography. With the advent of the printing press and the translation of the Bible into English, Old Testament versifications were made that correspond predominantly with the existing Hebrew full stops, with a few isolated exceptions. Most attribute these to Rabbi Isaac Nathan ben Kalonymus's work for the first Hebrew Bible concordance around 1440.[6]

text: The first person to divide New Testament chapters into verses was Italian Dominican biblical scholar Santi Pagnini (1470–1541), but his system was never widely adopted.[15] His verse divisions in the New Testament were far longer than those known today.[16] Robert Estienne created an alternate numbering in his 1551 edition of the Greek New Testament[17] which was also used in his 1553 publication of the Bible in French. Estienne's system of division was widely adopted, and it is this system which is found in almost all modern Bibles. Estienne produced a 1555 Vulgate that is the first Bible to include the verse numbers integrated into the text. Before this work, they were printed in the margins.[16]

text: The first English New Testament to use the verse divisions was a 1557 translation by William Whittingham (c. 1524–1579). The first Bible in English to use both chapters and verses was the Geneva Bible published shortly afterwards in 1560. These verse divisions soon gained acceptance as a standard way to notate verses, and have since been used in nearly all English Bibles and the vast majority of those in other languages. (Nevertheless, some Bibles have removed the verse numbering, including the ones noted above that also removed chapter numbers; a recent example of an edition that removed only verses, not chapters, is The Message: The Bible in Contemporary Language by Eugene H. Peterson.)[18]

text: Jewish tradition[edit]

text: The Hebrew Masoretic text of the Bible notes several different kinds of subdivisions within the biblical books:

text: Verse endings[edit]

text: Most important are the verse endings. According to the Talmudic tradition, the division of the text into verses is of ancient origin.[19] In Masoretic versions of the Bible, the end of a verse is indicated by a small mark in its final word called a silluq (which means "stop"). Less formally, verse endings are usually also indicated by two horizontal dots following the word with a silluq.

text: Parashiyot[edit]

text: The Masoretic textual tradition also contains section endings called parashot, which are usually indicated by a space within a line (a "closed" section) or a new line beginning (an "open" section). The division of the text reflected in the parashot is usually thematic. Unlike chapters, the parashot are not numbered, but some of them have special titles.

text: In early manuscripts (most importantly in Tiberian Masoretic manuscripts, such as the Aleppo codex), an "open" section may also be represented by a blank line, and a "closed" section by a new line that is slightly indented (the preceding line may also not be full). These latter conventions are no longer used in Torah scrolls and printed Hebrew Bibles. In this system, the one rule differentiating "open" and "closed" sections is that "open" sections must always start at the beginning of a new line, while "closed" sections never start at the beginning of a new line.

text: Sedarim[edit]

text: Another division of the biblical books found in the Masoretic text is the division of the sedarim. This division is not thematic, but is almost entirely based upon the quantity of text. For the Torah, this division reflects the triennial cycle of reading that was practiced by the Jews of the Land of Israel.

text: Christian versions[edit]

text: The Byzantines also introduced a concept roughly similar to chapter divisions, called kephalaia (singular kephalaion, literally meaning heading).[20] This system, which was in place no later than the 5th century, is not identical to the present chapters. Unlike the modern chapters, which tend to be of roughly similar length, the distance from one kephalaion mark to the next varied greatly in length both within a book and from one book to the next. For example, the Sermon on the Mount, comprising three chapters in the modern system, has but one kephalaion mark, while the single modern chapter 8 of the Gospel of Matthew has several, one per miracle. Moreover, there were far fewer kephalaia in the Gospel of John than in the Gospel of Mark, even though the latter is the shorter text. In the manuscripts, the kephalaia with their numbers, their standard titles (titloi) and their page numbers would be listed at the beginning of each biblical book; in the book's main body, they would be marked only with arrow-shaped or asterisk-like symbols in the margin, not in the text itself.

text: The titles usually referred to the first event or the first theological point of the section only, and some kephalaia are manifestly incomplete if one stops reading at the point where the next kephalaion begins (for example, the combined accounts of the miracles of the Daughter of Jairus and of the healing of the woman with a haemorrhage gets two marked kephalaia, one titled of the daughter of the synagogue ruler at the beginning when the ruler approaches Jesus and one titled of the woman with the flow of blood where the woman enters the picture – well before the ruler's daughter is healed and the storyline of the previous kephalaion is thus properly concluded). Thus the kephalaia marks are rather more like a system of bookmarks or links into a continuous text, helping a reader to quickly find one of several well-known episodes, than like a true system of chapter divisions.

text: Cardinal Hugo de Sancto Caro is often given credit for first dividing the Latin Vulgate into chapters in the real sense, but it is the arrangement of his contemporary and fellow cardinal Stephen Langton who in 1205 created the chapter divisions which are used today. They were then inserted into Greek manuscripts of the New Testament in the 16th century. Robert Estienne (Robert Stephanus) was the first to number the verses within each chapter, his verse numbers entering printed editions in 1551 (New Testament) and 1571 (Hebrew Bible).[21]

text: The division of the Bible into chapters and verses has received criticism from some traditionalists and modern scholars. Critics state that the text is often divided in an incoherent way, or at inappropriate rhetorical points, and that it encourages citing passages out of context. Nevertheless, the chapter and verse numbers have become indispensable as technical references for Bible study.

text: Several modern publications of the Bible have eliminated numbering of chapters and verses. Biblica published such a version of the NIV in 2007 and 2011. In 2014, Crossway published the ESV Reader's Bible and Bibliotheca published a modified ASV.[22] Projects such as Icthus[23] also exist which strip chapter and verse numbers from existing translations.

text: Protestant Bible statistics[edit]

text: The number of words can vary depending upon aspects such as whether the Hebrew alphabet in Psalm 119, the superscriptions listed in some of the Psalms, and the subscripts traditionally found at the end of the Pauline epistles, are included. Except where stated, the following apply to the King James Version of the Bible in its modern 66-book Protestant form including the New Testament and the protocanonical Old Testament, not the deuterocanonical books.

text: Chapters[edit]

text:
There are 929 chapters in the Old Testament.

187 chapters in the Pentateuch
249 chapters in the Historical books
243 chapters in the Poetic books ("Wisdom")
183 chapters in the Major prophets
67 chapters in the Minor prophets

There are 260 chapters in the New Testament.

89 chapters in the Gospels
28 chapters in Acts
87 chapters in the Pauline Epistles (excluding Hebrews)
34 chapters in the General Epistles (including Hebrews)
22 chapters in Revelation

This gives a total of 1,189 chapters (on average, 18 per book).
Psalm 117, the shortest chapter, is also the middle chapter of the Bible, being the 595th Chapter.[24]
Psalm 117 is the shortest chapter of the Bible.
Psalm 119 is the longest chapter of the Bible.
Five books are a single chapter: Obadiah, Philemon, 2 & 3 John, Jude. In many printed editions, the chapter number is omitted for these books, and references just use the verse numbers.

tag: ul

text:
Old Testament - 929 chapters[25]

Book / Division
Chapters

Pentateuch (or the Law)
187

Genesis
50

Exodus
40

Leviticus
27

Numbers
36

Deuteronomy
34

Historical Books
249

Joshua
24

Judges
21

Ruth
4

1 Samuel
31

2 Samuel
24

1 Kings
22

2 Kings
25

1 Chronicles
29

2 Chronicles
36

Ezra
10

Nehemiah
13

Esther
10

Books of Wisdom (or "Poetry")
243

Job
42

Psalms
150

Proverbs
31

Ecclesiastes
12

Song of Solomon
8

Major Prophets
183

Isaiah
66

Jeremiah
52

Lamentations
5

Ezekiel
48

Daniel
12

Minor Prophets
67

Hosea
14

Joel
3

Amos
9

Obadiah
1

Jonah
4

Micah
7

Nahum
3

Habakkuk
3

Zephaniah
3

Haggai
2

Zechariah
14

Malachi
4

tag: table

text:
New Testament - 260 chapters[25]

Book / Division
Chapters

Gospels
89

Matthew
28

Mark
16

Luke
24

John
21

History
28

Acts
28

Pauline Epistles
87

Romans
16

1 Corinthians
16

2 Corinthians
13

Galatians
6

Ephesians
6

Philippians
4

Colossians
4

1 Thessalonians
5

2 Thessalonians
3

1 Timothy
6

2 Timothy
4

Titus
3

Philemon
1

General Epistles
34

Hebrews
13

James
5

1 Peter
5

2 Peter
3

1 John
5

2 John
1

3 John
1

Jude
1

Apocalyptic Writings
(Prophecy)

22

Revelation
22

text: Verses[edit]

text:
There are 23,145 verses in the Old Testament and 7,957 verses in the New Testament. This gives a total of 31,102 verses,[25] which is an average of a little more than 26 verses per chapter.
Contrary to popular belief, Psalm 118 does not contain the middle verse of the Bible. The King James Version has an even number of verses (31,102), with the two middle verses being Psalm 103:1–2.[26]
John 11:35 ("Jesus wept") is the shortest verse in most English translations. Some translations — including the New International Version, New Living Translation, New Life Version, Holman Christian Standard Bible and New International Reader's Version — render Job 3:2 as "He said". However, that is a translators' condensation of the Hebrew which literally translated is: "And Job answered and said."
The shortest verse in the Greek New Testament is Luke 20:30 ("και ο δευτερος", "And the second") with twelve letters, according to the Westcott and Hort text. In the Textus Receptus, the shortest verse is 1 Thessalonians 5:16 ("παντοτε χαιρετε", "Rejoice always") with fourteen letters,[27] since Stephanus' rendering of Luke 20:30 includes some additional words.[28]
Isaiah 10:8 ("Dicet enim") is the shortest verse in the Latin Vulgate.[29]
Esther 8:9 is the longest verse in the Masoretic Text. The discovery of several manuscripts at Qumran (in the Dead Sea Scrolls) has reopened what is considered the most original text of 1 Samuel 11; if one believes that those manuscripts better preserve the text, several verses in 1 Samuel 11 surpass Esther 8:9 in length.


document_title: Big Little Lies (TV series)

question_text: who plays the therapist in big little lies

text: Big Little Lies (TV series)

text: Cast and characters[edit]

text: Main[edit]

text:
Reese Witherspoon as Madeline Martha Mackenzie[1]
Nicole Kidman as Celeste Wright[1]
Shailene Woodley as Jane Chapman[6]
Alexander Skarsgård as Perry Wright, Celeste's husband[7]
Adam Scott as Ed Mackenzie, Madeline's husband[8]
James Tupper as Nathan Carlson, Madeline's ex-husband[7]
Zoë Kravitz as Bonnie Carlson, Nathan's second wife[9]
Laura Dern as Renata Klein[8]
Jeffrey Nordling as Gordon Klein, Renata's husband[10]

text: Recurring[edit]

text:
Iain Armitage as Ziggy Chapman, Jane's son[11]
Sarah Baker as Thea Cunningham
Sarah Burns as Gabrielle
P. J. Byrne as Principal Nippal
Santiago Cabrera as Joseph
Darby Camp as Chloe Mackenzie, Madeline's younger daughter
Hong Chau as Jackie
Kelen Coleman as Harper Stimson
Cameron Crovetti as Josh Wright, Celeste's son
Nicholas Crovetti as Max Wright, Celeste's son
Merrin Dungey as Detective Adrienne Quinlan[12]
Ivy George as Amabella Klein, Renata's daughter
Virginia Kull as Ms. Barnes
Chloe Coleman as Skye Carlson, Bonnie's daughter
Kathryn Newton as Abigail Carlson, Madeline's elder daughter[8]
Molly Hagan as Dr. Moriarty
Larry Sullivan as Oren[12]
David Monahan as Bernard[12]
Kathreen Khavari as Samantha[13]
Joseph Cross as Tom, Madeline and Celeste's favorite cafe owner
Robin Weigert as Dr. Amanda Reisman, Perry and Celeste's therapist
Larry Bates as Stu

text: Episodes[edit]

text:
No.
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

1
"Somebody's Dead"
Jean-Marc Vallée
David E. Kelley
February 19, 2017 (2017-02-19)
1.13[14]

At a public school in Monterey, a murder suddenly occurs on trivia night, but neither the victim nor the murderer is revealed. Backtracking to the first day of school, the families of five first-graders are introduced. Madeline Martha Mackenzie is a strong-willed, wealthy, and feared alpha female in town with a first-grade daughter and teenage daughter from an earlier marriage. Her friend, retired lawyer Celeste Wright, is the mother of twin sons who are also beginning at that same school. New to town is Jane Chapman – a young single mother raising her son, Ziggy. Renata Klein's daughter Amabella accuses Ziggy of attempting to choke her, which he denies. Madeline and Celeste befriend Jane. Secrets are revealed, including that Madeline is struggling to cope with her ex-husband Nathan's marriage to a yoga instructor named Bonnie and also trying to build a relationship with her older daughter. Celeste appears to have a very happy life with her husband Perry, but he starts to show signs of being violent. Jane's motives for moving to Monterey are unknown.

2
"Serious Mothering"
Jean-Marc Vallée
David E. Kelley
February 24, 2017 (2017-02-24) (online)
February 26, 2017 (2017-02-26) (HBO)
0.56[15]

Perry lashes out at Celeste when he discovers he missed orientation at the school, but Celeste lets it slide. Jane goes around looking for work with little success. Madeline goes on the warpath with Renata when it is revealed Renata didn't invite Ziggy to Amabella's birthday party. Ed questions Madeline's devotion to him when she continues to complain about seeing Nathan with Bonnie all the time. Madeline is further disturbed when Bonnie takes her oldest daughter Abby to Planned Parenthood. Nathan tries to come to a peaceful resolution with Ed about their parenting of Abby, but Ed senses Nathan trying to intimidate him and stands firm against him. Madeline's youngest daughter Chloe and Bonnie's daughter Skye try to mend the wounds between Ziggy and Amabella, but it leads to an incident of unwanted affection, and the parents of the four children are all called into the principal's office, leading Jane to have a flashback of an unwanted episode.

3
"Living the Dream"
Jean-Marc Vallée
David E. Kelley
March 5, 2017 (2017-03-05)
1.04[16]

Perry chokes Celeste when he believes she deliberately left him out of a family gathering, after which Celeste threatens to leave him. Renata's party for Amabella is a huge success, but she is ultimately upset when Madeline had invited Amabella's closest friends and Ziggy to Disney on Ice on the same day. At therapy, Perry claims his outbursts are out of fear that Celeste does not love him, which Celeste tries to deny. When Abby's academic performance starts to decline, her guidance counselor believes it is being caused by stress at home, so Abby decides to stay with Nathan much to Madeline's dismay. Jane gets Ziggy involved with more extracurricular activities and helps him put together a family tree for school with Madeline's help. Jane lashes out at Ziggy when he insists on putting his father's name on the tree, and Jane confides to Madeline that Ziggy was the result of rape by a man named Saxon Banks whom she has not seen since.

4
"Push Comes to Shove"
Jean-Marc Vallée
David E. Kelley
March 12, 2017 (2017-03-12)
1.04[17]

This episode's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2017) (Learn how and when to remove this template message)

Abigail moves in with Nathan and Bonnie.
Celeste legally represents Joseph and Madeline in a meeting with the Mayor regarding their production of the controversial Avenue Q. Celeste successfully convinces the Mayor to allow the play to go ahead, and in the process realizes that she desires to return to work. She asks her therapist how best to broach this subject with Perry, but Dr. Reisman is more concerned with why Celeste is afraid to do so. At home, the increasingly insecure Perry tells Celeste he does not want her to attend any future meetings. When she refuses, he grabs her by the throat, but quickly relinquishes when one of their children enters the room.
Joseph and Madeline kiss, and it is revealed they had an affair a year ago.
Madeline locates a man named Saxon Baker whom she believes to be the alias of Saxon Banks. She shares this information with Jane and Celeste, and they plan to travel to San Luis Obispo together to confront him. Jane comments that she would kill Saxon Banks if she could, but quickly dismisses the remark as a joke when Madeline becomes concerned.
Ms. Barnes notices that Amabella is quiet and suspects she is still being hurt by a classmate. Despite Amabella's assertions that she and Ziggy are friends, Ms. Barnes requests that Jane take Ziggy to a child psychologist for evaluation. The psychologist believes that Ziggy is innocent, and that he may actually be being bullied himself. A follow-up appointment is scheduled.

5
"Once Bitten"
Jean-Marc Vallée
David E. Kelley
March 19, 2017 (2017-03-19)
1.17[18]

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Nathan spots Jane at the gun range and tells Madeline. Although Jane reassures Madeline that she carries a gun solely for its psychological benefits, Madeline begins to regret tracking down Saxon Baker.
Renata discovers a bite mark on Amabella's arm, but Amabella refuses to disclose who bit her. Renata assumes it is Ziggy and a meeting is held between Jane and the school principal. Jane becomes concerned that the school community will learn Ziggy is the product of rape and be further prejudiced against him.
Madeline reads on Abigail's Facebook page that she is undertaking a "secret project" but is frustrated when Nathan knows nothing about it. Joseph approaches Madeline at lunch and insists she take a drive with him to talk. He wants to continue their relationship and is convinced Madeline still has feelings for him, but she maintains that their affair is over. During the drive they are involved in a car crash. Madeline is uninjured, while Joseph suffers a concussion and collapsed lung. The incident raises suspicion from community members, including Ed, and Joseph's wife, Tori, as to why Madeline and Joseph were driving together.
Perry is angered when Celeste does not ask the twins to tidy their toys. She responds by telling him to clean up the mess himself, triggering further violence from Perry, followed by aggressive sex and him breaking down in tears. Later, Dr. Reisman confronts Celeste with her belief that she is being abused and, although initially reluctant to accept this, Celeste eventually reveals that she has previously feared for her life and considered leaving Perry many times. The therapist urges Celeste to reflect on the future implications of Perry's behavior for their children.
Jane secretly travels to San Luis Obispo to confront Saxon Baker, taking her gun with her.

6
"Burning Love"
Jean-Marc Vallée
David E. Kelley
March 26, 2017 (2017-03-26)
1.39[19]

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Jane reveals to Madeline that she went to confront Saxon Baker, but discovered he was not the Saxon Banks that had raped her. Madeline attempts to convince Jane to give up the search.
Ms. Barnes tells Jane a petition has begun to have Ziggy suspended. Jane confronts Renata, assuming she is the culprit, and, in the heat of the altercation, gouges her eye. She later apologizes, having come to the realization that they have both been acting to protect their children. Renata forgives Jane and reveals her plan to schedule playdates with each of Amabella's classmates to find out which one is hurting her.
Celeste's therapist advises her to prepare to leave Perry by renting an apartment and disclosing the abuse to friends, who could serve as witnesses in a potential custody battle. Later, Perry tries to initiate sex with Celeste. When rejected, he grabs her by the hair and she defensively hits him in the groin with a tennis racquet, fracturing his penis. Returning from the hospital, he tells Celeste she is "lucky" he didn't kill her. The following day she begins looking for an apartment.
At the opening night of Avenue Q, Tori confronts Madeline with suspicions that she had an affair with Joseph, whom she believes is still in love with Madeline. At home, Madeline and Ed have another argument about her lack of passion toward him, which culminates in her alluding to having made a "terrible mistake". However, before she can elaborate, Ed urges her not to say anymore.
Nathan discovers that Abigail's "secret project" is auctioning her virginity to raise money for Amnesty International. When Madeline is informed, she furiously confronts Abigail, disclosing her affair in the process.

7
"You Get What You Need"
Jean-Marc Vallée
David E. Kelley
April 2, 2017 (2017-04-02)
1.86[20]

This episode's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2017) (Learn how and when to remove this template message)

Most of the episode takes place on the day of the trivia night. Following another beating, Celeste decides to leave Perry the day after the trivia night. Ziggy confesses to Jane that it was Max who choked Amabella and that he has also been violent towards Skye. Madeline talks to Joseph about his wife knowing about their affair; their meeting ends in an argument. After confiding to Madeline over coffee, Jane tells Celeste that her son is the bully. Celeste goes home and asks Max to be truthful with her.
When preparing to leave for the trivia night, Perry sees a text message on Celeste's phone from the landlady of her secret apartment. He confronts her about it on the way to the party. Once at the venue, he tries to bar her from leaving the car, but she manages to escape when Renata and her husband come to greet them. At the party, Celeste tries to avoid Perry, and tells Renata that Max is the bully. Meanwhile, Madeline has gotten drunk and runs away during Ed's performance. Jane goes after her and finds her on top of concrete stairs at the back of the venue. Madeline is crying and tells Jane that she cheated on Ed. Renata also goes after them and apologizes to Jane for having blamed Ziggy.
Celeste joins the women, followed by Perry. Bonnie, who noticed Perry and Celeste arguing earlier, follows them and watches the group from afar. Jane realizes that Perry is the man who raped her. He pleads with Celeste to come back home with him, and when she declines, he attacks her, with Madeline, Jane and Renata struggling to control him. Bonnie rushes in and pushes Perry down the stairs, killing him.
In the police interviews, the women all confirm there was a fight with Perry, but claim he fell accidentally. While one of the detectives is suspicious, the police cannot prove anything as the women's stories match each other. In the last scene, the five women and their children are shown enjoying a day on the beach while being watched by the detective through binoculars.

text: Production[edit]

text: Filming[edit]

text: The series was shot with an Arri Alexa digital camera. Jean-Marc Vallée, who directed the entirety of the first season, preferred using natural lighting and handheld shooting style to allow actors to move freely around the set.[21]

text: Development[edit]

text: The series was initially conceived of and billed as a miniseries of seven episodes. In the wake of the Emmy nominations, Reese Witherspoon said: "As of right now, I think it’s pretty whole. I feel really good about where it is, and if this is all it ever was, it’s a beautiful thing we all accomplished together",[21] while Vallée came out strongly against the idea of producing a second season: "There's no reason to make a season two. That was meant to be a one-time deal, and it's finishing in a way where it's for the audience to imagine what can happen. If we do a season two, we'll break that beautiful thing and spoil it".[22] Later, when the show garnered an array of critical accolades, he changed his mind: "It'd be great to reunite the team and to do it. Are we going to be able to do it, altogether? I wish."[23]

text: In July 2017, two weeks after the series was nominated for the Primetime Emmy Award for Outstanding Limited Series, HBO revealed that a second season was possible, and that Moriarty had been asked to write a story for it.[24] In December 2017, after the Critics' Choice Television Award and Golden Globe Award nomination voting periods were over,[25] HBO officially renewed the series for a seven-episode second season to be written by David E. Kelley and directed by Andrea Arnold.[26] Vallée will remain an executive producer of the series.[27]

text: The announcement of the second season, and—specifically—its timing, enraged the producers of rival shows that are competing for award nomination in the limited series category.[28] Immediately following HBO's decision to produce a second installment of Big Little Lies, the Producers Guild of America moved to reclassify the original installment of the show from a limited series to a drama series for the upcoming 2018 PGA Awards.[29]

text: Broadcast[edit]

text: Internationally, the series premiered on February 20, 2017, in Australia on Showcase,[30] and on March 13, 2017, in the UK and Ireland on Sky Atlantic.[31]

text: Reception[edit]

text: Critical response[edit]

text: Big Little Lies received critical acclaim. Review aggregator website Rotten Tomatoes reported a 92% approval rating from a total of 94 reviews, with an average rating of 7.99/10 and an average episode score of 97%. The site's critical consensus reads, "Bitingly funny and highly addictive, Big Little Lies is a twisty, thrilling, enlightening ride led by a first-rate cast."[32] Metacritic reported a score of 75 out of 100, based on 42 critics, indicating "generally favorable reviews".[33]

text: Time magazine listed Big Little Lies as one of its top ten television shows of 2017.[34]

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"Somebody's Dead"
February 19, 2017
0.3
1.13[14]
0.3
N/A
0.6[35]
N/A

2
"Serious Mothering"
February 26, 2017
0.2
0.56[15]
0.3
0.84
0.5
1.39[36]

3
"Living the Dream"
March 5, 2017
0.4
1.04[16]
N/A
N/A
N/A
N/A

4
"Push Comes to Shove"
March 12, 2017
0.4
1.04[17]
N/A
N/A
N/A
N/A

5
"Once Bitten"
March 19, 2017
0.4
1.17[18]
N/A
N/A
N/A
N/A

6
"Burning Love"
March 26, 2017
0.5
1.39[19]
0.3
N/A
0.8[37]
N/A

7
"You Get What You Need"
April 2, 2017
0.7
1.86[20]
0.3
0.93
1.0
2.79[38]

text: Accolades[edit]

text:
Year
Award
Category
Nominee(s)
Result
Ref.

2017
American Film Institute Awards
Top Ten Television Programs of the Year
Big Little Lies
Won
[39]

Critics' Choice Television Awards
Best Actress in a Movie Made for TV or Limited Series
Nicole Kidman
Pending
[40]

Reese Witherspoon
Pending

Best Limited Series
Big Little Lies
Won

Best Supporting Actor in a Movie Made for TV or Limited Series
Alexander Skarsgård
Pending

Best Supporting Actress in a Movie Made for TV or Limited Series
Laura Dern
Pending

Emmy Awards
Outstanding Casting for a Limited Series, Movie or Special
David Rubin
Won
[41]

Outstanding Cinematography for a Limited Series or Movie
Yves Bélanger
Nominated

Outstanding Contemporary Costumes for a Series, Limited Series or Movie
Alix Friedberg, Risa Garcia and Patricia McLaughlin
Won

Outstanding Directing for a Limited Series, Movie or Dramatic Special
Jean-Marc Vallée
Won

Outstanding Hairstyling for a Limited Series or Movie
Michelle Ceglia, Nickole C. Jones, Lona Vigi, Frances Mathias and Jocelyn Mulhern
Nominated

Outstanding Lead Actress in a Limited Series or Movie
Nicole Kidman
Won

Reese Witherspoon
Nominated

Outstanding Limited Series
Big Little Lies
Won

Outstanding Makeup for a Limited Series or Movie (Non-Prosthetic)
Steve Artmont, Nicole Artmont, Angela Levin, Molly R Stern and Claudia Humburg
Nominated

Outstanding Music Supervision
Susan Jacobs
Won

Outstanding Single-Camera Picture Editing for a Limited Series or Movie
Veronique Barbe, David Berman, Justin LaChance, Maxime Lahaie, Sylvain Lebel and Jim Vega
Nominated

Outstanding Sound Mixing for a Limited Series or Movie
Gavin Fernandes, Louis Gignac and Brendan Beebe
Nominated

Outstanding Supporting Actor in a Limited Series or Movie
Alexander Skarsgård
Won

Outstanding Supporting Actress in a Limited Series or Movie
Laura Dern
Won

Shailene Woodley
Nominated

Outstanding Writing for a Limited Series, Movie or Dramatic Special
David E. Kelley
Nominated

Golden Globe Awards
Best Actress – Miniseries or Television Film
Nicole Kidman
Won
[42]

Reese Witherspoon
Nominated

Best Miniseries or Television Film
Big Little Lies
Won

Best Supporting Actor – Series, Miniseries or Television Film
Alexander Skarsgård
Won

Best Supporting Actress – Series, Miniseries or Television Film
Laura Dern
Won

Shailene Woodley
Nominated

Screen Actors Guild Awards
Outstanding Performance by a Female Actor in a Television Movie or Limited Series
Laura Dern
Pending
[43]

Nicole Kidman
Pending

Reese Witherspoon
Pending

Outstanding Performance by a Male Actor in a Television Movie or Limited Series
Alexander Skarsgård
Pending

TCA Awards
Individual Achievement in Drama
Nicole Kidman
Nominated
[44]

Outstanding Achievement in Movies, Miniseries and Specials
Big Little Lies
Won

Program of the Year
Big Little Lies
Nominated

Writers Guild of America Awards
Long Form – Adapted
David E. Kelley
Pending
[45]

2018
ACE Eddie Awards
Best Edited Drama Series for Non-Commercial Television
David Berman
Pending
[46]

text: Media[edit]

text: Soundtrack[edit]

text: A soundtrack for the series was released on Google Play and iTunes on March 31, 2017.[47]

text: Blu-ray and DVD[edit]

text: The first season was released on Blu-ray and DVD on August 1, 2017.[48]